Saturday, October 29, 2016

I'm exhibiting nine atmospheric paintings at Izen Miller Gallery's inaugural exhibition at a new space. It is located at The River, Suite B113 - directly across from the Theater at 71-800 CA-111 in Rancho Mirage, CA 92270.

Also exhibiting are Carol Beauvais, Philippe Chambon, John Luebtow, and Barry Orleans.

This is a really nice time of year to visit the desert. The gallery hours are Friday and Saturday 1;00 pm until 8:00 pm and Sundays from 11;00am until 6:00 pm. Private viewings are available by appointment.

There will be a closing reception on Saturday, November 12 from 5;00 pm until 8:00 pm. It would be lovely to see you there.

Monday, June 20, 2016

I never forgot having an encounter with an owl while swimming at night. My guess at the time, as it swooped very low just over my head, is that with just my head above water I must have appeared to be prey. I'm thankful the owl had second thoughts. I've heard of other owl situations that didn't end as well.

I've been finalizing drawings and preparing linen for painting. I've been gradually changing from stretched supports to linens glued down to panels. It requires a longer preparation time, but less, make that no, sagging, buckling, re-stretching, tightening, denting headaches down the road.

I've been using Lineco glue for the archival and reversible qualities, but find it a pain on larger sizes. It sets so fast that the glue on one end of the panel is dry before I can finish applying it to the rest. I'm going to try BEVA film next time. It is heat activated, so I may be able to simply iron it down. Either way, I'm finding it handy to have many large format art books handy. They do make incredible weights.

During Anselm Kiefer’s talk at the Getty last week, he
mentioned that he starts a piece with an idea in mind, but during the process the
artwork will often transform into something else.

Usually I begin a painting with what I think is a clear
intention of what the painting is about; the content, the subject, the mood and
also the scale, the palette, and to what extent it will be painterly and
textured.

I almost always go to Nature as the source of inspiration. I
also make use of the many intellectual rules of composition. You know them: the Golden Ratio, the Fibonacci Spiral, the Rule of Thirds, etc. With these ideas in
the back of my mind I rearrange the elements of the landscape to align to the
framework of the canvas. Clouds up and to the left, tree down and to the right,
the curve of a road from here to there, and so on.

Lately I find that as I approach this anticipated completion,
I’ll begin to see something else and if I slow down and let it happen the
painting seems to suggest a direction it would like to go – which may or may
not be what I’d originally intended.

Often the shift is subtle, a part I wasn’t
too concerned about starts to become more of a focus point. A section of sky
asks to be darkened, a carefully painted cloud all but disappears. A faintly
suggested tree demands attention and detail. Other times it might as well be a
completely different painting. If I take the hint and follow up, the results often
make sense and I wonder why it wasn’t part of my “original plan” – or was it?
It’s hard for me to tell where imagination ends and intuition begins.

And yet, I’m starting to like this way of working.

“Picasso was writing about this subject when he said: “I
consider a work of art as the product of calculations, but calculations which
are frequently unknown to the author himself. It is exactly like the carrier
pigeon calculating his return to the loft. But the calculation that turns out
to be correct is unknown to him; it is a calculation that precedes
intelligence.” - Keeper of the Flame, An essay on Max Shertz and his Art of the
Unconscious. By Daniel Kaufman, Artist and Writer

Monday, March 21, 2016

“If you don't like the weather in New England now, just wait a few minutes.” - Mark Twain

The weather in Hawaii provides a similar effect, or rather than waiting as it changes, a person can experience radiant sunshine and pouring rain simultaneously.

Liquid Sun Splash wip Katherine Keanoil on linen 12 x 16 inches

This provides a new challenge for me when it comes to windshield weather paintings. Instead of a soft, misty background as a backdrop for well defined rain drops, the background is bright in places, and parts of the road are sharp along with some of the water edges.

Connect the Drops Katherine Kean
oil on linen 12 x 16 inches

Between the Drops Katherine Keanoil on linen 12 x 16 inches

Counting Raindrops Katherine Keanoil on linen 12 x 16 inches

It's less about a foreground veil for gazing out from a separate interior world and more about the sudden encounter and the dynamic patterns made.

Tuesday, March 08, 2016

It’s not very loud. Just a faint scratch on paper, or a soft blerp or splat or splosh or slosh of paint, and perhaps an occasional sigh. The sounds of the art studio and work being made with pencil and paint.*

First the thumbnail sketches...

Then the studies.

Eventually underpainting begins.

And at last the first color layer.

That's not the end of it. There is more to come, so stay tuned."Painting is silent poetry, and poetry is painting that speaks". Plutarch

Tuesday, January 26, 2016

I read somewhere that just thinking about the future—not
even the rewards, per se—can strengthen willpower.

During the last few days of 2015 an artist friend had a
great idea to sit down on an evening with calendars ready and pencils in hand
and create a plan for the coming year. We mapped out how many paintings we
would paint, what sizes they will be. We decided which new skills and levels of
accomplishment we will reach and what kind of study, classes, or workshops
might be required to reach these improvements. We also counted in time for
travel, family, friends, and fun, time to experiment and time to take risks. When
we were finished we marveled and laughed at our ambitions and wondered if the
year would be big enough to hold all that we planned to put into it.

“Time is short, my strength is limited, the office is a
horror, the apartment is noisy, and if a pleasant, straightforward life is not
possible then one must try to wriggle through by subtle maneuvers.” – Kafka

I’ve always been curious about how other artists structure
their days. I know what works for me, the hours that are the most productive, how
to get started, and how to avoid distractions - that is, as long as I'm choosing to be productive. Mason Currey has put together a
book that gives a glimpse into the routines and work habits of well known artists,
composers, and writers in Daily Rituals: How Artists Work.

“I calculate that I must have spent nearly 20,000 hours in
writing Ulysses.” – James Joyce

“Sooner or later, the great men turn out to be all alike.
They never stop working. They never lose a minute. It is very depressing.” – V.S.
Pritchett

So, with calendar, list of goals, and a calculator I added
up my plan of paintings and divided by available studio hours to see if there is
a possibility to make these studio dreams come true. Mathmatically at least, yes,
seems that there is. Let's see how it goes...

Monday, January 18, 2016

The winter months, such as they are in Southern California, should be a perfect time for accomplishing some studio painting. Once the holidays are over, there are fewer distractions and the garden is less demanding. The number of daylight hours is growing again, but it's still cool enough to work through the day. The catch is this - drying time slows down - a lot. A small study or painted edge that might dry overnight at other times of year might take a week - or more. I've taken to placing smaller work in front of the fireplace to try to speed the drying up.

When I can, I paint working wet into wet. I find it more challenging than working in layers, allowing each to dry completely. Yet, working directly has certain advantages. The rules of fat over lean are less consequential in direct painting.

Except for the underpainting layer, the painting above has been proceeding entirely with wet into wet technique, although I haven't decided yet whether to paint the tree into the wet paint, or allow it to dry first.

In the meantime I've been keeping a drop of clove oil on the palette to keep the paint fresh overnight. The cool weather and the clove oil fumes are all it takes to keep the paint from drying, and it makes the studio smell amazing.

Fine Art Greeting Cards

Books:

From San Diego to Vancouver, 100 Artists of the West Coast II covers 100 artists with over 400 full color photographs of their work. The collection includes art from private as well as public collections and installations, including the collections of LACMA, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Museum of Modern Art New York, and the New York Public Library to name just a few. I'm happy to be included.